Suchergebnisse

Introduction /A.J. Brown and Marika Donkin --Part I --The incidence and significance of whistleblowing /A.J. Brown, Evalynn Mazurski and Jane Olsen --Who blows the whistle, who doesn't and why? /Richard Wortley, Peter Cassematis and Marika Donkin --How do officials report? Internal and external whistleblowing /Marika Donkin, Rodney Smith and A.J. Brown --The good, the bad and the ugly: whistleblowing outcomes /Rodney Smith and A.J. Brown --Whistleblower mistreatment: identifying the risks /A.J. Brown and Jane Olsen --Part II. --Support for whistleblowing among managers: exploring job satisfaction and awareness of obligations /Paul Mazerolle and A.J. Brown --Investigations: improving practice and building capacity /Margaret Mitchell --Internal witness support: the unmet challenge /A.J. Brown and Jane Olsen --Evaluating agency responses: comprehensiveness and the impact of whistleblowing procedures /Peter Roberts --Best-practice whistleblowing legislation for the public sector: the key principles /A.J. Brown, Paul Latimer, John McMillan and Chris Wheeler --Project findings: an agenda for action /A.J. Brown and Chris Wheeler --Select bibliography --Appendix A.Research questions --Appendix B.Wrongdoing categories and types --Appendix C.A new framework for internal witness management systems.

Intro -- Half Title -- Title Page -- Copyright Page -- Preface -- Prologue -- 1989 -- Second Chance"-38 Special -- "Straight Up ~ Cold Hearted"-Paula Abdul -- "Listen to Your Heart"-Roxette -- "Giving You the Best That I Got"-Anita Baker -- "Two Hearts"-Phil Collins -- "Waiting for a Star to Fall"-Boy Meets Girl -- "This Time I Know It's for Real"-Donna Summer -- "I'll Be Loving You (Forever)"or "Cherish"-New Kids on the Block/Madonna -- "Love Shack" or"Sowing the Seeds of Love"-The B-52S/Tears for Fears -- "Stand" or "What I Am"-Band/Edie Brickell -- "Miss You Like Crazy"-Natalie Cole -- Eternal Flame-The Bangles -- "Baby, I Love Your Way"-Will to Power -- "If I Could Turn Back Time"-Cher -- "Good Thing(Where Have You Gone?)"-Fine Young Cannibals -- "If You Don't Know Me By Now" or "Right Here Waiting"-Simply Red/Richard Marx -- 1993 -- "I Don't Wanna Fight"-Tina Turner -- "Love Is"-Vanessa Williams and Brian McNight -- "Right Here"-The Grind -- "Deeper and Deeper"-Madonna -- "Dreamlover" or "I'd Do Anything forLove (But I Won't Do That)"-Mariah Carey/Meat Loaf -- "I Have Nothing"-Whitney Houston -- "Runaway Train"-Soul Asylum -- "I Will Always Love You"-Whitney Houston -- "In the Still of the Night(I'll Remember)"-Boyz II Men -- "Do You Believe in Us"-John Secada -- "A Whole New World"-Peabo Bryson and Regina Belle -- "Will You Be There"-Michael Jackson -- 1996 -- "Who Will Save Your Soul"-Jewel -- "Til I Hear It From You"-Gin Blossoms -- "Closer to Free"-The Bodeans -- "The World I Know"-Collective Soul -- "If It Makes You Happy"-Sheryl Crow -- "Be My Lover"-La Bouche -- "Give Me One Reason" or"Nobody Knows"-Tracy Chapman/The Tony Rich Project -- "Because You Loved Me" or"I Want to Come Over"-Celine Dion/Melissa Etheridge -- "Change the World"-Eric Clapton -- "I Love You Always Forever"-Donna Lewis -- "As I Lay Me Down"-Sophie B. Hawkins.

Annotation Creeps surround us, seemingly everywhere. People creep up on each other both on the streets and online, with digital technologies vectoring a lot of cyber-stalking. It¿s so easy to spy on people that ¿creep catching¿ has even become a form of news entertainment in shows such as ¿To Catch a Predator.¿ But what defines a creep is so broad that nearly anyone can be a creep at times. Many of us wonder if we ourselves have been creepy, or if perhaps we engage in behavior that, if others knew, would easily earn us the title ¿creep.¿ Even Donald Trump, during the raucous 2016 campaign, was called a ¿creep¿ on several occasions by various news media. Indeed, for many of us, the specter of the creep is not just threatening, but exciting ¿ exciting perhaps in the possibility of threat. Yes, we get creeped out. But we are also fascinated by creeps, perhaps in part because we all sense the potential inside ourselves for creepy behavior. In this provocative and engaging new book, Jonathan Alexander interweaves personal narrative and cultural analyses to explore what it means to be a creep. Calling this work a critical memoir, he draws on his own experiences growing up gay in the deep south, while also interrogating examples from literature and popular film and media, to approach the figure of the creep with some sympathy. Ranging widely over contemporary culture, especially the ever-creeping presence of nearly ubiquitous surveillance, Alexander confesses his own creepiness while also explaining to us what being creepy can show us in turn about our culture. He also resurrects some famous ¿creeps¿ from the past, such as J.R. Ackerley, to explore what makes a creep creepy, and how even the best of us succumb at times to being creeps. Ultimately, Alexander argues, a study of creepiness might offer us critical insight into the fundamental perversity of how we live. Creep: A Life, A Theory, an Apology is a timely meditation for our strange and creepy times

Creeps surround us, seemingly everywhere. People creep up on each other both on the streets and online, with digital technologies vectoring a lot of cyber-stalking. It's so easy to spy on people that "creep catching" has even become a form of news entertainment in shows such as "To Catch a Predator." But what defines a creep is so broad that nearly anyone can be a creep at times. Many of us wonder if we ourselves have been creepy, or if perhaps we engage in behavior that, if others knew, would easily earn us the title "creep." Even Donald Trump, during the raucous 2016 campaign, was called a "creep" on several occasions by various news media. Indeed, for many of us, the specter of the creep is not just threatening, but exciting – exciting perhaps in the possibility of threat. Yes, we get creeped out. But we are also fascinated by creeps, perhaps in part because we all sense the potential inside ourselves for creepy behavior. In this provocative and engaging new book, Jonathan Alexander interweaves personal narrative and cultural analyses to explore what it means to be a creep. Calling this work a critical memoir, he draws on his own experiences growing up gay in the deep south, while also interrogating examples from literature and popular film and media, to approach the figure of the creep with some sympathy. Ranging widely over contemporary culture, especially the ever-creeping presence of nearly ubiquitous surveillance, Alexander confesses his own creepiness while also explaining to us what being creepy can show us in turn about our culture. He also resurrects some famous "creeps" from the past, such as J.R. Ackerley, to explore what makes a creep creepy, and how even the best of us succumb at times to being creeps. Ultimately, Alexander argues, a study of creepiness might offer us critical insight into the fundamental perversity of how we live. Creep: A Life, A Theory, an Apology is a timely meditation for our strange and creepy times.